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———. 2017a. “Listening to North Indian Classical Music: How Embodied Ways of Listening Perform Imagined Histories and Social Class.” Ethnomusicology 61 (2): 207-233.

———. 2017b. “Still, Silent Listening in India: The Meanings of Embodied Listening Practices.” In Listening to Music: People, Practices and Experiences, edited by Helen Barlow and David Rowland. The Open University.

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 ________. 2017b. “Voyages à Bollywood: (trans)nationalisme et identité à l’ère de la globalisation.” In Voyages et exils au cinéma, transferts et/ou ‘chocs’ culturels, edited by Patricia-Laure Thivat. Presses Universitaire du Septentrion, 191-208.

________. 2017c. “Where has our Country Gone? Reading The Last Word after Brexit.” SynergyJournal of the Department of Modern Languages and Business Communication, University of Bucharest 13 (1): 86 – 99.

________. 2016. “Punjabi Films and Bollywood Cinema. Contested Notions of Inter/Dependence.” In In/dépendance des cinémas indiens.  Cartographies des formes, des genres et de régions, edited by Amandine D’Azevedo and Térésa Faucon. Paris: Presses Sorbonne Nouvelle, 24-29.

________. 2015. “InterNational Terrorism? Indian Popular Cinema and the Politics of Terror.” Critical Studies on Terrorism 8 (3): 337-357.

________. 2014. “Something Old, Something New, Something Borrowed. Indian Films, British Networks and the Sikh Diaspora in Italy.” Comparative Critical Studies 11 (2): 203-217.

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———. 2013. Research Methods for Memory Studies. Edinburgh: Edinburgh University Press.

———. 2017. Memory and the Management of Change: Repossessing the Past. Basingstoke and New York: Palgrave Macmillan.

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